ART-WORLD PHENOMENON Jean-Michel Basquiat was prolific in his short lifetime, creating an exhilarating new art inspired by music, language, and black American cultural icons." To Repel Ghosts" synchronizes the harmony and discord of Basquiat s canvases, adapting them as a bass line to improvise and play upon. Young renders ambitious, celebratory ...
ART-WORLD PHENOMENON Jean-Michel Basquiat was prolific in his short lifetime, creating an exhilarating new art inspired by music, language, and black American cultural icons." To Repel Ghosts" synchronizes the harmony and discord of Basquiat s canvases, adapting them as a bass line to improvise and play upon. Young renders ambitious, celebratory poetry of the everyday and the exalted a double-album in verse, a jazz symphony, a hip-hop opera taking Basquiat s funkified history and making it sing. Structured on two discs, To Repel Ghosts shows five sides of the artist, exploring the rise and demise of a painter who helped break through the art world s color line, first as SAMO(c) and then as a downtown art-scene wunderkind. Here are riffs on and extended rhapsodies for a pantheon of black genius: ballplayers, comic book and folk heroes, boxers, and especially musicians: Billie Holiday, Charlie Parker, Robert Johnson, and Grace Jones. This kaleidoscope of lives emerges in "To Repel Ghosts" to provide a unique foil to Basquiat s own bout with fame. As an urban epic in the tradition of Langston Hughes s "Montage of a Dream Deferred" and Federico Garcia Lorca s "Poet in New York," "To Repel Ghosts" poignantly charts Basquiat s era, its popular, social, and racial energies and excesses. An album of our times, it is a powerful statement on a now-gone genius, and our recently completed century."
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Publishers Weekly, 2001-04-16 In this thick volume of 117 lean-lined poems, Young reanimates Jean-Michel Basquiat, the much-documented painter, graffiti artist and art world martyr who overdosed in 1988 at age 27. Unlike the salacious biographies, however, this epic is impressively faithful to its subject's obliquely political style and preoccupations: "Basquiat scrawls/ & scribbles, clots/ paint across/ the back/ wall of Keith Haring's/ Cable Building studio / two cops, keystoned,/ pounding a beat,/ pummel/ a black face scape/ goat, sarcophagus / uniform blue." By and large, the poems are ekphrastic, addressing particular Basquiat works and often incorporating Basquiat's painted texts into the poems (with the former often out-performing the latter), disturbing the neat division between homage and appropriation: "Andy's already bit/ the dust/ & Basquiat's just/ about to DEBT (SIC)/ PISS PASSPORT/ FREE KIT LIGHT RED/ PAYING DUES." Divided into five record-like "ablums," with the poems of each "side" functioning as songs (a frequent Basquiat inspiration), the project's size can work against it, devolving into repetitive riffs. And some of the poems are overloaded with expositional details about Basquiat's life or recastings of well-worn truisms about the painter's role in the "decadent" 1980s. When on, though, Young creates a midway point between his own and Basquiat's vernaculars, an inspired bricolage of shiny borrowings, canny enjambments and angry popist elegy: "Upstairs/ Superfly loops on,/ watching the room / nobody home. I'm your mamma/ I'm your daddy / Basquiat's 57 Jones/ Street pad stands empty/ like a tomb/ pirated. Tell ole/ Pharaoh, let my people go." (June 1) Forecast: Basquiat's reputation is slowly moving from '80s art star to major 20th-century artist, Julian Schnabel's 1996 biopic notwithstanding. Young is the author of the National Poetry Series pick Most Way Home and editor of Giant Steps, a anthology of younger African-American writers. His homage will appeal to art cognoscenti and readers of cultural studies, as well as to Young's already solid poetry base. Copyright 2001 Cahners Business Information.
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